the north parish is an academy styled Franklin academy. The south parish contains the theological seminary, and an academy styled Phillips academy, which was founded in 1778. The theological seminary was founded in 1807, and is very liberally endowed. It has a pleasant, healthy and elevated situation, which commands a beautiful and extensive prospect. The buildings consist of dwellinghouses for the professors; a steward's house, containing a dining-hall; and 3 public edifices of brick. The library contains upwards of 5000 volumes. There are 4 professors. The number of students is now about 120.-The course of education is completed in 3 years. As qualifications for admission, the constitution requires a liberal education, and testimonials of good character and talents. Tuition and room-rent are afforded free of expense to all, and the charity funds give support to such as are indigent. A public examination is held on the 4th Wednesday of September. There are 2 vacations, of 5 weeks each.

ANDRE, major J.; an adjutant-general in the British army in N. America during the revolutionary war. He was originally a merchant's clerk. Employed to negotiate the defection of the American general Arnold, and the delivery of the works at West Point, he was apprehended in disguise, Sept. 23, 1780, within the American lines, and sent prisoner to general Washington, who submitted his case to the examination and decision of a board of general officers, consisting of major-general Greene, William Alexander (lord Stirling), the marquis de la Fayette, &c. The board declared him a spy from the enemy, and, agreeably to the law and usage of nations, he was hanged at Tappan, in New York, Oct. 2, 1780. A monument is erected to his memory in Westminster abbey. He is the author of a poem entitled The Cow Chase. (See Arnold.)

ANDREA DEL SARTO. (See Sarto.) ANDREOSSY, Antoine François, count; a French general, great-grandson of the renowned François Andreossy; who died in 1828. He was the engineer who finished the canal of Languedoc, from the Atlantic to the Mediterranean, was born at Castel-Naudary, in 1761, and, in 1781, was lieutenant in the French artillery. In 1797, he distinguished himself, as commander of the gun-boats, upon the lake of Mantua, at the siege of this fortress. In later times, he made himself conspicuous, in the French expedition to Egypt,

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by his learned writings, as a member of the national institute at Cairo, particularly on mathematics. He was sent as French ambassador to London, after the peace of Amiens; afterwards, to Vienna. and at last to Constantinople. In 1814, the king recalled him from this post. In 1815, he was again employed by Napo leon, during the "hundred days." Be sides his Mémoire sur l'Irruption du Pont Euxin dans la Mediterranée, and his Mémoire sur le Système des eaux qui abreuvent Constantinople, his work on the Bosphorus and the Turkish empire is esteemed good.

ANDREW, St.; brother of St. Peter, and the first disciple whom Christ chose. Both brothers were fishermen, but left their business, and followed the Redeemer. The fate of A., after Christ's death, is uncertain; the common opinion is, that he was crucified. The Russians revere him as the apostle who brought the gospel to them; the Scots, as the patron saint of their country. In the early ages of the church, a pretended Gospel of his was in circulation. The Acta, also, which bear his name, are not genuine. The order of St. A. is one of the highest orders of the empire of Russia, instituted by Peter the Great, in 1697. -For the Scottish knights of St. A., see Thistle.

ANDREW's, St.; an important city of Scotland, on the Firth of Tay, 39 miles from Edinburgh; W. lon. 2° 50′; N. lat. 56° 19. It is about a mile and a half in circuit, consisting of 3 principal streets; 2 churches of the kirk of Scotland, one Episcopalian, two Dissenting meetinghouses, and a university, having two colleges-St. Salvador's and St. Mary's. Pop. 3300. It is a royal burgh, and returns, in union with 4 other places, one member to parliament. St. A. was formerly a place of considerably greater extent than at present. The iconoclastic zeal of the reformers, in the year 1559, levelled with the ground its noble cathedral. Ruins of several ancient buildings are still to be seen. The university was founded in 1412. The number of students, at both colleges, has never been known to exceed 300, and they do not, at this time, amount to 200.

ANDREW, St., cross of; a cross of the form X, because, according to tradition, St. A. was executed on a cross wnich had this shape, Nov. 30, A. D. 83, at Patras, in Achaia.

ANDREWS, Lancelot, bishop of Winchester, in the reigns of James I and Charles I, was born in London, 1565.

He is particularly known by one of his works, Tortura Torti (1609), which he wrote against a publication of cardinal Bellarmine, under the fictitious name of Matthew Tortus, in which the cardinal had attacked James' Defence of the Rights of Kings. His works best known at present are, a volume of Sermons, 1628-31, fol. 1642; the Moral Law expounded, or Lectures on the Ten Commandments, 1642, fol.; Collection of Posthumous and Orphan Lectures, delivered at St. Paul's and St. Giles', London, 1657, fol.

ANDRIEUX, François Guillaume Jean Stanislas, one of the most distinguished modern French dramatic poets, born at Strasburg, May 6, 1759, was, before the revolution, secretary of the duke of Uzès. By his zeal for true liberty during the revolution, by his firm adherence to the constitution, and by his constant support of the rules of natural right, he was not less distinguished, than by his easy wit, and the striking characters and fine poetry contained in his numerous literary works. His writings sometimes want finish, particularly in respect to the language. In 1798, he entered the legislative body, as deputy of the departinent of the Seine, where he made a conspicuous figure by his speeches, and motions respecting the establishment of primary schools, the liberty of the press, and the murder of the ambassadors at Rastadt. After the 18th Brumaire, he became tribune; July 21, 1800, secretary; and, in September, president of the tribunate. He declared himself with zeal and firmness against the anti-constitutional measures of the first consul and of the senate, until 1802, when he was obliged to resign. Nevertheless, the emperor afterwards made him knight of the legion of honor, and professor of literature at the Collège de France, and of belles-lettres at the polytechnic school. In 1816, the king admitted him a member of the French academy. His principal work of classical reputation, is Anaximander, a play in one act. His Les Etourdis is also very popular. He is likewise the author of Molière avec ses Amis. His Examen Critique du Théatre des Grecs is highly valued.

ANDROCLUS, OF ANDRODUS; a Dacian slave, who being exposed to a lion in the circus, the animal forbore to hurt him, because he had formerly taken a thorn out of his foot. He was, in consequence, liberated, and led the lion about the streets of Rome.-Aul. Gel. 1. v. c. 14. El. Hist. An. 1. vii. c. 48.

ANDROIDES (from rig, a man, and sides, form); a figure of human shape, which, by certain machinery, is made to perform some of the natural motions of a living man.

ANDROMACHE; daughter of Ection, king of Thebes in Cilicia, and wife of Hector. (q. v.) After the conquest of Troy, she became the prize of Pyrrhus, son of Achilles, who carried her to Epirus, and had 3 sons by her, but afterwards left her to Helenus, brother of Hector, to whom she bore a son. Euripides has made her the chief character of a tragedy.

ANDROMEDA; daughter of the Ethiopian king Cepheus, and of Cassiopeia. The mother and daughter were very beautiful. The former having boasted that her daughter surpassed the Nereides (if not Juno herself) in beauty, the of fended goddesses called on their father to revenge the insult. He not only inundated the territory of Cepheus, but also sent a horrid sea-monster, which threatened universal destruction. The oracle declared that the wrath of Neptune could not be appeased, unless Cepheus delivered his daughter to the monster. this extremity, Perseus beheld her, when, with the head of the Gorgon in his hand, and mounted on Pegasus, he was returning from his victory over Medusa. Touched by compassion and love, the hero promised to kill the monster on condition that the virgin should be given him in marriage. The father promised it, and kept his word. In memory of the exploits of Perseus (q. v. ), A., by the favor of Pallas, was placed among the stars.

In

ANDRONICUS of Cyresthes; a Greek architect, celebrated for having constructed, at Athens, the tower of the winds, an octagonal building, on cach side of which was a figure representing one of the winds. On the top of the tower was a small pyramid of marble supporting a brazen Triton, which turned on a pivot, and pointed with its rod to the side of the tower on which was represented the wind that was then blowing. As each of the sides had a sort of dial, it is conjectured that it formerly contained a clepsydra or water-clock.

ANDRONICUS of Rhodes; a follower of Aristotle, who lived B. C. 63, and wrote commentaries on that author. He also restored and published the works of that philosopher, which Sylla had brought from Greece.

ANDROS; islands of the Holy Ghost (isles del Espiritu Santo); a group of isles

extending in the form of a crescent, for upwards of 50 leagues in the neighborhood of the Great Bahama bank, and amongst the Bahamas; in N. lat. 242 to 25° 30, and W. lon. 77° to 78° 20. The passages through them are dangerous. Attempts have been made to colonize the principal Andros island. In 1788, 200 inhabitants, including slaves, were settled there. It has the privilege of sending one member to the house of assembly of the Bahamas. The approach to it is very difficult, for

various reasons.

ANDROSCOGGIN, or AMERISCOGGIN; a river which forms the outlet of Umbagog lake, and has the first part of its course in the eastern part of New Hampshire. After entering the state of Maine, it flows first in an easterly, and afterwards in a southerly direction, and joins the Kennebec at Merry-meeting bay, 6 miles above Bath, and 18 miles above the entrance of the river into the ocean. Its whole course is about 150 miles in length.

ANELLO, Thomas. (See Masaniello.) ANEMOMETER ; an instrument contrived to measure the strength and velocity of the wind.

ANEMONE, Wind-flower, in botany; a genus of the polygamia order, and polyandria class, ranking, in the natural method, under the 26th order, multisilique. It has its name from the Greek ävɛpos, (the wind), because it is supposed not to open unless the wind blows. Linnæus enumerates 21 species: those valuable on account of their beauty are the following: 1, anemone apennina, a native of Britain, growing in the woods; 2, anemone coronaria; 3, anemone hortensis; both natives of the Levant, particularly of the Archipelago islands, where the borders of the fields are covered with them; 4, anemone nemorosa, growing wild in the woods, in many parts of Britain, where it flowers in April and May. Prof. Candole (De Cand. Syst. vol. i. 188) enumerates 45 species of anemone.

ANEMOSCOPE; every contrivance which indicates the direction of the wind. The vane upon towers and roofs is the simplest of all anemoscopes. There are also some, where the vane turns a moveable spindle, which descends through the roof to the chamber where the observation is to be made. On the ceiling of this apartment a compass-card is fixed, and, whilst the wind turns the vane together with the spindle, an index, fixed below, points out the direction of the wind on the card. Some are so made as, even in the absence of the observer, to note down

the changes of the wind. Among the most perfect of this kind, is that of prof. Moscati, and of the cav. Marsilio Landriani.

ANEURISM; the swelling of an artery, or the dilatation and expansion of some part of an artery. This is the true aneurism. There is also a spurious kind of aneurism, when the rupture or puncture of an artery is followed by an extravasation of blood in the cellular membrane. If the external membrane of the artery is injured, and the internal membrane protrudes through, and forms a sac, it is called mixed aneurism. Lastly, there is the varicose aneurism, the tumor of the artery, when, in bleeding, the vein has been entirely cut through, and at the same time the upper side of an artery beneath has been perforated, so that its blood is pressed into the vein. The genuine aneurisms arise partly from the too violent motion of the blood, partly from a preternatural debility of the membranes of the artery, which is sometimes constitutional. They are, therefore, more frequent in the great branches of the arteries; in particular, in the vicinity of the heart, in the arch of the aorta, and in the extremities, for instance, in the ham and at the ribs, where the arteries are exposed to frequent injuries by stretching, violent bodily exertions, thrusts, falls and contusions. They may, however, be occasioned also, especially the internal ones, by diseases, violent ebullitions of the blood, by the use of ardent spirits, by vehement passions and emotions, particularly by anger: in such cases, the arteries may be ruptured, and sudden death produced. The external aneurisms are either healed by continued pressure on the swelling, or by an operation, in which the artery is laid bare, and tied above the swelling, so as to prevent the flow of the blood into the sac of the aneurism, which contracts by degrees. Sometimes the ligature is applied both above and below the aneurism.

ANFOSSI, Pasquale, was born at Naples, in 1729, played on the violin in the music schools of Naples, and studied composition under Sacchini and Piccini. The latter had a great friendship for him, and procured him, in 1771, his first employment, in the theatre delle dame at Rome. Though he met with no success, Piccini procured him, in the following year, a second engagement, in which he was also unsuc cessful. In a third engagement, the year afterwards, A. was more fortunate. The Persecuted Unknown was performed, in

1773, with great applause, as were also La Finta Giardiniera and Il Geloso di Cimento some time afterwards. On the other hand, the Olimpiade, in 1776, entirely failed, and the mortification of the author, on this occasion, induced him to leave Rome. He travelled through Italy, and, about 1780, went to France. He performed in the royal academy the Persecuted Unknown; but this lovely and delicate music did not meet with the reception which it deserved. From France A. went to London, where, in 1783, he was director of music at the Italian theatre. In 1787, he returned to Rome, where he brought out several pieces, the success of which made him forget his disappointments, and gained him a reputation which he enjoyed until his death, in 1795. A. frequently reminds us of Sacchini and Piccini, after whom he formed his style; but his taste, expression and style of progression and resolution are extraordinary. Several of his finales are models in their kind. His fertility proves that he composed with ease. Of his works, we may also mention the Avaro, Il Curioso Indiscreto and IViaggiatori Felici, which rank among the best comic operas. He has also composed several oratorios and psalms, written mostly by Metastasio.

ANGEL (from the Greek ayyedos, a messenger). Under the articles Demon and Demonology is shown in what way the idea of angels was introduced into Christianity; here we shall only explain how this idea was further developed. Under the name of angels is understood a kind of good spirits, having a near connexion and communication with men. In the Jewish theology, they were divided into different classes and ranks. These have been most accurately described by the author of the Heavenly Hierarchy, ascribed to Dionysius the Areopagite. He forms them into three classes, each containing as many subdivisions. According to the majority of writers, they were created long before the visible world; according to others, at the same time as the heaven and earth, when God commanded the light to be, and his spirit moved over the waters. Their office is to serve the Deity, whose agents they are in effecting his good purposes, as the tutelary spirits of whole nations and kingdoms, as the heralds of his commands, as the guardians of particular individuals, and the directors of particular events. They were supposed to be spirits with ethereal bodies. This conception of them was established

as a doctrine of the church by the council of Nice (in 787), but is at variance with the decision of the Lateran council of 1215, which makes them immaterial beings. Those who regard the body merely as an incumbrance, or prison of the soul, and conceive a very exalted idea of pure spirits, hold angels to be such spirits, and explain their visible appearance by supposing that they have the power of assuming at will bodily forms and a human shape. Those who consider it no imperfection for a spirit to exist in a body, maintain that angels have bodies. As finite beings, they must have some place where they reside. The ancients easily found a habitation for them in their heaven, which was conceived to be a vast azure hall, where God dwelt with his angels; but we, who have very different ideas of heaven and the universe, can only suppose that, if they still operate on human things, they dwell invisibly with and about us. As to their names, the Catholic church receives only three as sanctioned by the Scriptures,—Michael, Gabriel and Raphael. Among the heresies of Aldebert, condemned by a Catho lic council, at Rome, under pope Zachary, 704, he was accused of invoking angels by unknown names, such as Uriel, Raguel, Simiel, &c. It was expressly declared that these were not names of angels, but of evil spirits. The later Catholics, however, have not changed their views in this respect, and the Catholic Sonnenberg has, after the example of Milton and Klopstock, not only mentioned other angels, but invented names for them. Swedenborg gives in his works a classification and detailed description of the angels. It is known that his followers believe in the constant influence of angels and the spirits of the deceased.

ANGEL; a gold coin formerly current in England, so named from having the representation of an angel upon it. It weighed four pennyweights, and was twenty-three carats and a half fine. It had different values in different reigns; but is now only an imaginary sum, or money of account, implying 10 shillings.

ANGELO BUONAROTTI, Michael; of the ancient family of the counts of Canosa; born, 1474, at Caprese or Chiusi; one of the most distinguished names in the history of modern art, eminent alike in painting, sculpture and architecture, and, withal, no mean poet. He was also an expert fencer. A. was one of those favorites of nature, who combine in their single persons the excellences of many

highly-gifted men. Domenico Ghirlandaio was his first master in the art of drawing. Before he had been with him two years, in the academy of arts established by Lorenzo de' Medici, he studied statuary under Bertoldo, and, in his 16th year, copied the head of a satyr in marble, to the admiration of all connoisseurs. He attracted no less attention as a painter, and received the honorable commission together with the great Leonardo da Vinci) of decorating the senate-hall at Florence with historical designs. For this purpose, he sketched that renowned, though not completely preserved cartoon, which represents a scene from the Pisan war, and is praised by critics as one of his most perfect creations. Meanwhile, pope Julius II had invited him to Rome, and intrusted him with the charge of erecting his sepulchral monument. Twice this labor was interrupted-once by the offended pride of A., and then by the envy of contemporary artists. Bramante and Juliano da San Gallo, in particular, persuaded the pope to have the dome of the Sistine chapel painted by Michael A. Knowing that he had not yet attempted any thing in fresco, they hoped that the imperfect execution of this task would alienate the favor of the pope from him. A. declined the commission, but the pope would not be refused, and, in the short space of 20 months, the artist finished the work, which was admired by all connoisseurs, and of which Fernow says rightly, that it displays, perhaps, more than any other of his productions, all the sublimity of his original genius. The cappella Sistina is certainly the grandest ensemble of art. Its perfection is owing chiefly to Michael Angelo's divine paintings. (See Sistine Chapel.) A. was about to proceed with the monument of Julius, when this pope died. His successor, Leo, sent A. to Florence to erect the front of the Laurentian library. Leo, however, shortly after died, and his successor, Adrian VI, employed A. to make the statues for the monument of Julius; particularly the renowned statue of Moses, and the Christ, which was afterwards placed at Rome, in the church della Minerva. Clement VII, who next ascended the pontifical chair, recalled A. to Rome, and charged him with the finishing of the new sacristy and the Laurentian library at Florence. In the first, the monuments of the Medici are by him; e. g., the figures of Day and Night. Tumultuous times followed, after the lapse of which, he was employed to paint the Last Judgment in the Sistine chapel.

The artist, now 60 years old, unwillingly commenced a work which might endanger his fame. Naturally inclined to deep and earnest thought; preferring the sublime conceptions of Dante to all other poetry; having, by a constant study of anatomy, investigated the most secret mechanism of the muscles, and conscious of his own power, he endeavored, in this work, to strike out a new path, and to surpass his predecessors, particularly Luca Signoretti, by a display of terrible power. The picture is grand, nay, gigantic, like the mind which created it. It represents Christ in the act of judging, or, rather, at the moment of condemning. Martyrs are seen, who show to the Judge of the living and dead the instruments of their torture; souls ascend to the choirs of angels hovering above; the condemned strive to break loose from the grasp of the devils; there the evil spirits burst into shouts of triumph at the sight of their prey; the lost, who are dragged down, endeavor to cling to the good, who remain in Christ's kingdom; the gulf of eternal damnation is seen opening; Jesus Christ and his mother are seen surrounded by the apostles, who place a crown on his head, and by a multitude of saints, while angels above carry in triumph the symbols of his passion; and, lower down, another company of angels sound the trumpets intended to awaken the dead from their tombs, and call them to judgment. All this, and a vast deal more, is executed in the awful style of Dante. With these scenes of fear and despair, of judgment and of heavenly beatitude, a wall of great height and breadth is filled, and every where is displayed the most profound study, the richest experience, and the lofty spirit of a master. The effect of this picture resembles that of the sublimest passages of Dante, particularly in connexion with the large images of the prophets, who, like warning and stern heralds of the last judgment, look down from the ceiling upon the spectator, resembling beings of another world, rather than images made by the hand of man. Whilst this picture of the Last Judgment shows the human figure in all its attitudes and foreshortenings, and gives us the expression of astonishment, of pain, of despair, through all their degrees, it may be considered as an inexhaustible treasure for the study of the arts. A.'s last considerable works in painting were two large pictures-the Conversion of St. Paul, and the Crucifixion of St. Peter, in the Pauline chapel. In sculpture, he